The beat the song is built on is a 2-bar phrase, played through bars 8, 12-14 and 42, and 4 more places -- 17.6% of every bar the kit plays. This one moves around more than most: the beat is where to start, not the whole job.
It is played on crash, snare, mid tom, floor tom and kick, counted in thirty-second notes. On its own it scores 45 out of 100 -- a step up -- and the thing that decides that is how fine the subdivision is.
The whole song is 60 out of 100, so the beat is not the hard part: what costs you is everything around it, the joins and the fills.
The room opens this beat on its simplest reduction, at 86 BPM, and adds the notes back a rung at a time -- 3 of them. Nothing is a matter of opinion: each rung has a tempo to reach and a gate to pass before the next one.
Tempo goes 86, 100 and 114 BPM, and the gate at each one is 8 loops in a row with no wrong note and no wobble in the time.
PRACTISE THIS BEAT →A 2-bar phrase on crash, snare, mid tom, floor tom and kick, in 4/4 at 114 BPM, counted in thirty-second notes. It is written out above, and it covers 17.6% of the bars the kit plays.
Bars 8, 12-14, 42 and 46-53, and 3 more places. The time is kept on the silence to start with, and it changes 9 times over the song.
45 out of 100 on its own -- a step up. The song as a whole is 60 out of 100, a step up from a first song, and the work is in the independence between the hands and the feet.